Monitors

I just checked the website again and it's a bit unclear what it means with HD SDI as there is only one HD SDI input so it must output through the HDMI or component?
 
morgan_moore said:
What are the features of the Logic that are not on the DP6?
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I was wighting between the DP6 and Logic for weeks. The reson I went for Logic is

1. Professional scopes (waveform and vector) and I mean really pro - not the pixel blobs you see on some cameras.
2. The first absolute usable, precise and finetunable peaking I ever saw- makes focusing a breze.
3. false color, which is a dream for skin tones
4. 3G SDI - future proof (to some degree)

If you buy it, forget the sunshade - it´s crap. The Hoodman for RED is way better and cheaper.

Frank
 
Postmaster said:
I was wighting between the DP6 and Logic for weeks. The reson I went for Logic is

1. Professional scopes (waveform and vector) and I mean really pro - not the pixel blobs you see on some cameras.
2. The first absolute usable, precise and finetunable peaking I ever saw- makes focusing a breze.
3. false color, which is a dream for skin tones
4. 3G SDI - future proof (to some degree)

If you buy it, forget the sunshade - it´s crap. The Hoodman for RED is way better and cheaper.

Frank
Click to expand...

The DP6 has false color and peaking as well, and I've thought they both work really well. Granted, I have not compared them to the TV-Logic, but the features do exist. I *really* wish the FS100 would allow you to show EVERYTHING you see in the onboard LCD out the HDMI. Sadly, no.
 
I tried both hands on and found the peaking on the Logic way better.
That and the Waveform where making me buy the Logic.

I Wish I could update the firmware the same way the DP6 does though.

Frank
 
Nvm sorry about the confusion Rick, I thought that the DP6 HD SDI was a dual link input of some kind.
That Hoodman for the RED 5.6" is awesome, and at only half the price of the TVlogic hood I'm buying one for sure. Thanks for the find Frank.

I found that the peaking function on the TVlogic to be a bit weird because it would peak on all the text on screen and even peak on its own menu.. Is there a way around this?
 
Stephen Mick said:
...So you can take an HDMI signal from the FS-100 and send it out via the HD-SDI connections on the DP6?
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Sorry, guys.. I'm not so familiar with it... but . .WHY do we need to take signal from FS-100 to external monitor from "HDMI-out" ?? :huh: ... Seems better to use it for external recording. . ( ...as soon as someone make reall 4-4-4 recording possible :) ) .. and use "COMPONENT-OUT" from FS-100 for your external monitoring ... .. personally I don't feel I need any monitor ( exept when camera will be on TOP, on CRANE or on-Steadycam ... )
 
It all depends on your needs. In some scenarios, you might need to feed a monitor for client viewing. Or you might simply want a monitor with built-in waveform (TVLogic) to help judge exposure.

An external recorder is nice, but not needed in many shooting situations. It just comes down to what your needs are, and what the nature of the shoot is.
 
Stephen Mick said:
It all depends on your needs. In some scenarios, you might need to feed a monitor for client viewing. Or you might simply want a monitor with built-in waveform (TVLogic) to help judge exposure.

An external recorder is nice, but not needed in many shooting situations. It just comes down to what your needs are, and what the nature of the shoot is.
Click to expand...

My DP6 is SUPERIOR to the onboard LCD on the FS100 (and any camera I have used really). You don't need it, but, for me, it makes pulling focus or hitting focus even easier given it is 720p. Plus, it's larger, and I find it is easier to frame and hit the exposure I want with a larger shot. I was SO against external LCDs till I tried one, now I almost NEVER not use it.
 
Postmaster said:
I was wighting between the DP6 and Logic for weeks. The reson I went for Logic is

1. Professional scopes (waveform and vector) and I mean really pro - not the pixel blobs you see on some cameras.
Frank
Click to expand...

This is going to sound nuts to you video people but .. (coming from a stills background)

Ive been judging exposure using histogram for years .. I dont feel happy with waveform or see the need for it (I have it on my transvideo steadicam monitor)

I do colour balance using the three colour histogram on stills cameras

-fill the frame with a grey card

-align the three colour peaks by changing the col temp wheel

Often I will dial in a little 'offness' by allowing a little extra red (for a warm interior) or a little extrab blue (for a cold exterior look) etc

Do you think that I could use the colour checker (on the logic) to do this ?

I guess when you point at grey you should just get a dot in the middle

As you dial the colours on the camera you should be able to move that dot around (to correct or dial in a look)

Also..

Is it a quick process to..

-turn the colour checker on/off
-go to 1:1 view (top centre) and back to full screen

S
 
Another Q about the TVL

it is rated at 6-12V

how does this sit with Vlocks that are 14.4 fully charged?

how do you power yours

S
 
morgan_moore said:
how do you power yours

S
Click to expand...

I power mine (and everything else on my rig, including the camera) with this here: http://frankglencairn.wordpress.com...-all-voltages-plus-hdmi-spillter-usb-charger/

I f you are a "histogram person" it will take you a while to get used to waveform. Though it´s basically the same information, it is presented in a different way.

The false color function on the Logic doesn´t show color temperature, but luminance levels on the picture. A bit like a heat image camera.
Your skin tones are pinkish, everything above that has "hot colors" from red and yellow to white. Everything under middle gray has "cold colors".
It´s a bit confusing at the beginning, but as soon as you start to think in the heat picture analogy, it makes total sense and you start to love it (at least I do).

To answer your question: No, you cant dial in your color temperatures with that.

Frank
 
Thank you

Now (again from a stills background) I just dont really get how you video people judge color

(without an RGB histo like on the 5d)

My stills workflow is simple - take a photo of a gregtag card - sort it in post using that frame as a reference - I can dial in perfect white or a look - no worries - or degradation to the final image

Should I return to that location weeks or months later I can still be consistent.. without taking notes!

-------

How do you do judge colour given that..

-You are working in a narrow space that degrades when you do post
-You are on set with a crappy little monitor that isnt properly calibrated
(by crappy I mean compared to a 23inch eizo in the office calibrated using spyder)
-the light levels on set may colour your vision
-The colour controls in the FS are fairly basic

Thanks

S

========
An example of my stills work is here colour ciritcal (or the client gets returned product and incurs costs) the balls are taken over months as stock rotates ..
http://www.blackeryarns.co.uk/knitting-wool-yarns/dyed-yarns?limit=all
I just dont get how a vid person would replicate this
 
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I shoot as flat as possible and grade in post. I grade about everything anyway (if it´s not urgent ENG for news or thelike) to get the desired look for the film, so tweaking the WB while there, is no problem.

I was surprised how good the sheer AVCHD of the FS100 holds up in post though.

But my normal workflow is to convert to Cineform 4:4:4 10 bit and grade with first light (nondestructive).
For high quality stuff I record uncompressed. In the moment with a workstation, as soon as the Hypershuttle talks to the FS100 I gonna use that.

Frank
 
IMO such an approach will compromise your final image quality - Of course tweaking and applying a look is part of a workflow but the image from the camera is still thin at the end of the day .. or maybe its not with a recorder

It would be interesting to see some tests ie record a scene under tungsten with daylight settings and correct both onboard and recorder footage

S
 
Not tryin to be a smart a$% or anything, but I was taught to always white balance under the light I was shooting in. Anytime I move, I re white balance. For color, that's all you need
to do. Now if you are talking exposure.....that's a whole nother story.
 
.. you white balance off a scene - what if the scene is a sport team all wearing red shirts ?

or you stop down and balance off the source (what I do)

Taking it up a level you return to the scene six months later and need the footage to match

or maybe you are shooting two cameras

Point and click seems a little random to me

OK - but random

S
 
QUOTE=morgan_moore;2393755]IMO such an approach will compromise your final image quality

S[/QUOTE]

That´s the reason why I sing the gospel of uncompressed till delivery (or at least Cineform - which is the next best thing to uncompressed).

As I said, the AVCHD holds up way better than I thought - for local advertising, industrial, corporate and low budget stuff, it´s absolute usable including color correction.
For that kind of projects I don´t even considering to convert into something else. You can see some examples here:

http://www.dvxuser.com/V6/showthread.php?255736-Grabs-from-a-national-radio-image-film&highlight=

Maybe we sweat it too much. Most things you see in theatres was trancoded, graded and compressed multiple times, and it still looks good enough.

Frank
 
Frank - those images are really nice - most of my images look good too

back to the topic

My DP1x and the onboard monitor (as expected) look totally different - I dont trust judging off a (location) monitor

Im just enquiring if there is a monitor or other tool that gives a reading of colour be that RGB histo or somthing else..

BTW what im doing at the moment is experimenting with my old ExpoDisc which may add a little more consistency

S
 
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